KM Weiland on Reverse Outlining + GIVEAWAY

I am THRILLED to feature writing guru K.M. Weiland on the blog today to discuss Outlining. As a reformed panser, I have seen my writing evolve by embracing outlining techniques. And while I'm not a full outliner yet, it is a tool that helps me at certain stages during the writing process to form stronger story structure and character development.

Katie's book, Outlining Your Novel: Map Your Way to Success guides writers with a step-by-step approach to developing and writing a novel. One of the story mapping techniques is Reverse Outlining, a creative approach to help writers build a strong, cohesive timeline in their novels. Read on for an excerpt straight from the book!

Reverse Outlining

When you think of outlines, you generally think about organization, right? The whole point of outlining, versus the seat-of-the-pants method, is to give the writer a road map, a set of guidelines, a plan. An outline should be simple, streamlined, and linear. An outline should put things in order. So you’re probably going to think I’m crazy when I tell you one of the most effective ways to make certain every scene matters is to outline backwards.

During the outlining process, we have to create a plausible series of events, a chain reaction that will cause each scene to domino into the one following. But linking scenes isn’t always easy to do if you don’t know what it’s supposed to be linking to. As any mystery writer can tell you, you can’t set the clues up perfectly until you know whodunit. Often, it’s easier and more productive to start with the last scene in a series and work your way backwards.

For example, in my outline of a historical story, I knew one of my POV characters was going to be injured so badly he would be unable to communicate with another character for almost a month. However, I didn’t yet know how or why he was injured. I could work my way toward this point in a logical, linear fashion, starting at the last known scene (a dinner party), and building one scene upon another, until I reached my next known point (the injury). But because my chain of events was based on what was already behind me (the dinner party), more than what was away off in the future (the injury), my attempts to bridge the two were less than cohesive.

Had I outlined these scenes in a linear fashion, squeezing in the injury might have become a gymnastic effort instead of a natural flowing of plot. Plus, the fact that I had no idea what was supposed to happen between the dinner party and the injury meant I was likely to invent random and inconsequential events to fill the space.

My solution?

You got it: work backwards.

Starting at the end of the plot progression—the injury—I began asking questions that would help me discover the plot development immediately preceding. How was the character hurt? Where was he hurt? Why did the bad guys choose to do this to him? Why was he only injured, instead of killed? How is he going to escape?

Once I knew these things, I knew how I needed to set up the scene, and once I knew how to set up the scene, I knew what to put in the previous slot in the outline. Eventually, I was able to work myself all the way back to the dinner party. Voilà! I now had a complete sequence of events, all of which were cohesive, linear, and logical enough to make my story tight and intense.

Facing the wide unknown of a story is scary, and putting one foot in front of the other, when you’re unsure of the terrain, can be overwhelming. But when you can work your way backwards from a known point, finding your way becomes as simple as filling in the blanks. The result is a story that falls into order like a row of expertly placed dominoes.

Would you like to own your own copy of Outlining Your Novel: Map Your Way to Success? Simply leave us a comment with some contact info, and if you like, share what you struggle with when it comes to developing a story. Whatever issues are throwing up roadblocks, this book will offer you creative solutions to get your book back on track! Contest winner announced Wednesday, Feb 1st!

117 comments:

What do I struggle with? I struggle with the old to plot or not to plot. And if plotting, how to do it so that I don't feel tied in. I have this weird horrid feeling when I've outlined that somehow I can't change anything now. As if the inner critic comes in on the back of plotting to try to set it all in concrete so it'll stuff up.

Wow, what a book! I, too, am a bit of a reformed Pantser, although I'm still working on it daily. My problem? I don't know when to stop, which is why I wind up with useless scenes; scenes that fail to move the story forward. I really like her concept of working backwards. Makes a lot of sense.

I think knowing what happens at the end always helps in shaping the beginning and the middle. My toughest part is the first major rewrite and deciding that parts don't make sense or don't link well and then plotting so it does make sense!

What a terrific-sounding book! I'd love to have it as a resource for the book I'm writing. I find what I struggle with most (especially starting out, as I am now) is developing a strong, non-cliche outline for the foundation of my story and this would be perfect.

I couldn't imagine writing without an outline. Not that I always stick to it exactly, but it's always there to guide me if I do take an unexpected side route.

I have several ways in which I create my outline, and I think at points the reverse one comes in. But that's during brainstorming. Like Laura said, knowing the ending helps with coming up with the middle.

I'd love to win. Because I really wanted to outline this new manuscript before I started it. I'm an organized person so thought it would help. But I was having writers block so had to go with knowing the key plot points and just writing.

Would I like a copy? Sure! As a dedicated Winger, I often find myself not knowing where things are going. I have tried outlining from time-to-time when I get into sticky spots, but this sounds pretty helpful.

I am very eager to try this technique as well, and I think (like Matt), that it will really help with the middle and ensure that tension remains high by focusing the scenes better.

Thanks everyone for your comments! And @SUE, I think that's a valid concern--can outlines be adapted once written? I think they can--we always have to leave room for inspiration. Sometimes our initial ideas are not the strongest, and a better idea hits as we're writing or as we see the plot and characters develop. :)

My biggest struggle is with creating enough tension, and varied amounts of tension in different places. I think plotting goes a long way to ensuring that there are sufficient events to facilitate that as I write. The book sounds great! And thanks for the advice.

If I had to outline a complete novel I doubt if I ever would begin. Sometimes (a lot of times) I write scenes out of order. When I get stuck in a sagging middle I write the end and then the middle becomes clear.Your method sounds amazing.

I work with very skeletal outlines but one thing's for sure--I HAVE to know how it ends before I can start writing. To that end, not falling into the "muddled middle"trap is a challenge. This technique sounds wonderful and I would love the book!

I can never finish a story I outline. That's my problem. I feel like my outlines--no matter how detailed or loose--just restrict my writing, and I end up getting stuck, deviating from it, and...well, it just becomes a mess.

This book sounds amazing! I wrestle midpoint everytime ... often tempted to turn my novel into a Choose Your Own Adventure and be done with it. Reverse outlining sounds like it could be a key tool for me. Thanks for the chance to win!

I'm about to start planning my first cozy mystery, so this book would be a huge help. My first novel was a pantser effort and I swear I wrote 150K words to end up with 82K. I've been a committed plotter since then, usually only trashing about 5K. Much more effective!

@Theresa: Thanks for commenting! I find it’s relatively easy to start stories, but finishing them when the going gets tough (and it always does) is where things get complicated. Keep on keeping on!

@Sue: The notion that outlines are immutable is one of the most common misconceptions. Actually, this is one of those things that can have no more power than what we give it. If we believe the outline is unchangeable, it will be. But if we can make ourselves realize that the outline can be just as flexible as we need it to be, a whole horizon of new possibilities open up.

@Alyssia: One of the reasons I fell in love with outlining myself is that it works wonders for eliminating those extraneous scenes. In my pre-outlining days, I would sit down at the computer and just start writing, without really knowing where I was going. And the result was lots of dead ends and useless scenes. I love outlining because it helps me see the overall arc of the story, so I can then figure out which scenes are necessary and which aren’t.

@Amanda: Outlining doesn’t work for everyone, but if you can find a routine that works for you, it’ll lick the organizational problems in no time.

@Laura: I usually end up outlining my rewrites as well! I’m a visual person, so nothing helps me get ahold of the big picture faster than a “map.”

@Traci: It’s a great technique, isn’t it?

@PBuff: Glad you enjoyed it! Have fun with book #2!

@Sarah: I find that that the key to avoiding clichés in plot, as well as all other aspects of story, is to stay in touch with your subconscious creativity. Let the story flow organically, guided by the motivations and goals of the characters, rather than trying to force what you *think* should happen.

@Stina: Exactly. Outlines are “more like guidelines.” Authors are bound to stick to them only insofar as they continue to mirror their vision of their stories.

@Tony: Reverse outlining can get a little tricky, especially when you’re dealing with a complicated plot, but the results are always worth the extra “figuring.” I recommend breaking the story down into chunks (chapters or scenes) to make the reverse outline more manageable.

@Natalie: Outlining is a great way to defeat writer’s block. The very fact that we know where we’re going every day when we sit down to write means we can focus more energy on the actual writing, instead of worrying about *what* to write.

@Tabitha: Getting stuck – along with the resulting hair pulling and head banging – is never fun. Good luck in the drawing!

@Matthew: The middle is murky territory for a lot of authors. We hear so much about beginnings and endings being important, but, if the middles can’t pull everything together, we’re sunk. I talk about subplots and complete story arcs more in the book.

@Jeff: “Winger”—I think I like that term ever better than “pantser”!

@SA: Thanks so much! I really appreciated that.

@Gale: The simple fact is that outlining just doesn’t seem to work for everyone. But it’s important to realize that outlining doesn’t have to be a set “method.” It can be as structured or as flexible as you need it to be.

@Febe: One of the blessings of the outline is that, before you ever start writing, you know how your story will end. It’s difficult to write a beginning that works and resonates if you don’t know where the story is supposed to end up.

@Heather: The biggest trick to linking up scenes is remembering that they’re dominos: every scene must directly influence the scene that follows.

@Karen: I found a quote the other day that I thought applied perfectly to this post: “Life can only be understood backwards; but it must be lived forwards.”—Soren Kierkegaard

@Cheyanne: Tangents can be a lot of fun—and also a lot of work. Outlining won’t eliminate tangents, since those spur of the moment ideas occur all the way through the writing process, but the outline *will* help you identify whether the tangent is going to be feasible within the overall arc of your plot.

@Joanna: Just remember to take small bites out of the big scenes. Sometimes it helps to break it down into sentences. Write a sentence. Walk away. Write another one.

@Tracey: Outlining can definitely help you identify the proper pacing—the ebb and flow—for your story. We have to balance the tense scenes with “sequel” scenes, and outlines are great for making sure we’re accomplishing that effectively.

@Dane: One of the things I talk about in the book is that, really, we’re *all* outliners. The difference between pantsers and plotters it that for the pantser the first draft is his outline, while for the plotter the outline is his first draft.

@Clarissa: Learning from the methods and techniques of other authors is one of the best ways to refine our own methods. I borrow a bit here and there from all kinds of people.

@Amber: The idea of outlining frightens a lot of people, just because it seems like a huge/long/boring task. But, really, I find outlines one of the most exciting parts of the process. For me, outlines are the time of the greatest discoveries in my story worlds.

@Shannon: There’s nothing technically wrong with pantsing. It seems to work for a great many authors. But I would definitely encourage pantsers to at least give outlining a try. You never know, it might transform your writing process—just like it did mine!

@JCC: It’s very easy to write a forward outline, thinking all the scenes tie together causally, only to get into the nitty-gritty of the first draft and realize the pieces don’t all align. Reverse outlines are great for tightening up scenes and refining the logic of the connections.

@Vicky: You’re in good company! John Irving reportedly has to write the last sentence of every novel before he can write the beginning.

@Nick: A lot of people struggle with that. For some, the best thing they can do is *not* outline. But you might benefit from the outline in its loosest form: as just a few notes (perhaps even just mental ones) about the plot points and the eventual outcome.

@Nicole: Beginnings are rough for me too. I rewrite them more than almost any other part of the story, because it’s *so* important to get them right. As soon as I get past the 50 page mark, I can always breathe a little easier.

@Kate: The great thing about outlining is that it allows you to indentify your major plot points at the 25%, 50%, and 75% marks. Once you know those, filling in the blanks becomes relatively easy.

@Joan: Mysteries, in particular, can benefit from the outline, just because there are so many clues and moments of foreshadowing that have to be sown early into the story.

@Colene: I hope it comes in handy!

@SP: Thanks for reading!

@Tara: I’m a huge fan of twists as well. One of the steps I always take in my outline is to write a list of “what isn’t expected.”

@David: Glad to know I’m in good company! :)

@Heather: Outlines are marvelous for interweaving subplots. You can lay them all out and see how they mirror and contrast with one another.

One of my major problems when editing is too many ideas and a bad memory. I'll be reading along and come up with a great idea or line. So I insert it and then two paragraphs later I find that I've written it already. You would think I would learn.

I'm trying to use headings and the navigator view in Libre Office to keep all my "great" ideas in front of me as I write and revise.

I usually come up with great beginnings, but never endings. I bet if I can come up with an ending to go along with a beginning I can use this technique to fill in the middle. Sounds like a great book. So glad I found out about it!

I wrote my first novels by the seat of my pants... if I got stuck, I'd just take a break until another idea came to me. Now, I'd plot most of the way through (although, since I haven't been actually writing for years, I've got most of the plots up in my head, ready to be written when I do have time to write...). I think my very first novel would benefit from some good outlining and planning to make it stronger, to make sure that every scene leads to the next scene, as you say here. :) Great tips; thanks.

I am a panster all the way. I have not found a method yet that can change that fact.

My three novels have always started out with a title and a rough idea of the ending, the rest seems to come to me as I write.

With number three, I have used scrivener cork board. I was a fan of ywriter, but DH bought me Scrivener for windows, so switched over. I do like the cork board, it has set me on a path of keeping track of the minor characters and place names. Maybe I am ready for change. :)

Just getting into writing, I think this method will help. I've had to overcome a view that stories are written front to back, like you read them. Also, once I understood you can still write with freedom and artistry, this method began to look more appealing - it looks like it provides enough structure to open up possibilities and help sharpen the work.

I've been reading McKee, Syd Fields, Brooks, and Ingermassen, as well as Weiland and I think an outlining method will help me develop the story more quickly.

Is there some point in using it, though, where it comes down to personal preference? Do most people use it to a certain point, or to get past certain problems?

I would have to say I'll try this. Sounds like a good approach though since you should always have the end in mind before you write a story. One of those "gee, why didn't I think of that" moments. I'd love to win the book to see how you do it = )Billiebillie@billiewilliams.com

@Dave: I have a pretty lousy short-term recall (thanks to head trauma in an ATV wreck) as well. Outlines are incredibly useful in helping me keep my mental stuff together.

@Janel: Really, your story *is* your ending. If you know the ending, you’ll know what you’re trying to achieve in the story and exactly what you have to do to get there.

@Koala: “Mental” outlines are just as useful as the kind we write out. So long as we can remember everything we’ve come up with, that’s all that counts.

@Glynis: If it ain’t broke, don’t fix it. But if you find yourself struggling with plotting or getting stuck halfway through, outlining is great for that. I haven’t tried Scrivener myself. But yWriter is very similar, and I’ve been hooked on it for years.

@Joe: I’m reading Syd Fields right now myself. Even though his material is aimed more specifically at screenwriters, it’s chock full of vital info for novelists and short story writers as well.

I've never thought about this approach, but it makes total sense. I'm a planner all the way. My stories are all outlined before I get started, but I always run into problems along the way where I can't figure out how to get from point A to point B. This is a great way to figure out those issues. Thanks so much for guest posting!

I bought a copy of Outlining Your Novel a little while ago -- no regrets! It was been hugely helpful during the planning stages of my current WIP, and I continue to return to it as I hit those little bumps along the way.

The reverse outlining technique may not make intuitive sense at first, but it sure helps sort out and prevent those cumbersome issues with seemingly impossible sequencing.

Woule love to check this out. I have a difficult time getting to the end because of road blocks. Never thought of outlining backwards...might be the answer for me. TY for the chance to win! pianolady_62(at)yahoo(dot)com.

@Heather: Outlines can be as rough or as sophisticated as you want them to be. My outlining process is pretty in-depth. I'll spend a few months filling out several notebooks before I'm finished. But not everyone will find it useful to go to the same extremes I do.

@Rhonda: Outlining is a cure-all for road blocks. Plow right on through!

Wow! You've made me feel so much better. When I write a situation pops into my mind and won't leave. From that situation, I try to decide what characters this could happen to. Then I move forward and backward from the main situation. Thanks for sharing, and please enter me in the contest!Thanks again!Jackiejoyfuljel(at)gmail(dot)com

@Jackie: That's almost always the way I work as well. The conception stages of the story leave me with a handful of scenes, and then I have to figure out how they all connect. It's like a connect-the-dots puzzle!

@Yelena: Stories are all about sequence. Once we get that figured out, the rest is just putting flesh on the bones.

@Stacey: I'm the same way. I don't recommend the editing-as-you-go routine to everyone, since it can definitely become a never-ending cycle of numbing perfectionism. But I like to fix problems as go, both to minimize the work required in the second draft, and to bring the story together as seamlessly as possible. Mistakes in the early chapters can snowball into big problems late in the plot.

I have never been a good outliner for whatever the reason. I usually just come up with an idea, some characters, setting, and develop conflicts as I go along. I would love to know more about becoming organized and structured to make things less frustrating when I "hit those walls." This concept of "working backwards" sounds very intriguing!

Apart from actually sitting down and starting to write? I struggle most with getting from a concept to an actual plot. I have all these ideas for settings and worlds, but no clue what story to tell in them.

@Jeannie: Not to throw a corkscrew into it or anything. ;) Actually, I think you'll find that the forward outlining can become even easier with the occasional help of the reverse outlining.

@Jason: Outlining in reverse is very intuitive. What you're reading here is pretty much all the book offers on outlining in reverse. But you will find lots of other tips and tricks on building and fleshing out your story.

@Athena: Subplots are all about mirroring, reinforcing, and supporting the main plot. When you're hunting for likely subplots, one of the best things you can do is start looking at facets of the main characters and relationship with the minor characters that you can further develop.

@Cindy: Have fun with it, and good luck in the drawing!

@CortlandWriter: So many people think outlining is going to limit their creativity, but really it's just the opposite. When you already know where you're going and what you need to do to avoid the blocks, you're free to explore so many extra levels of your story.

@Kit: Most of the time, I have just the opposite problem. I think up characters - and then have to figure out the concept to support them. I would suggest asking yourself lots of "what if" questions (something I talk about in the book) to start getting your creative juices flowing in the right direction.

@Southpaw: Reverse outlining rarely goes amiss, but it's particularly helpful in figuring out logical relations between Plot Point A and Plot Point B.

Awesome giveaway! Thanks for the tips on reverse outlining. I've been trying to figure out how to work with certain storylines and I know I need to outline but it's by far my biggest weakness in writing a story. I am a panster writer and I get so many holes or other problems in the story if I can't follow some type of an outline.

I work all sorts of ways, outlining, panster...And I often write, or at least, imagine the end first. How I want it to come out or the final scene. I write a lot of horror, so it usually ends badly. I am "writing" one novel, and I've been outlining that to death. I think it's time to actually start the novel.

Thanks for this suggestion. I am struggling with the closure at the end of the book. I don't want to wrap it all up with a bow. I want to leave the reader satisfied that questions were answered but wanting to know more and continue reading about the main character. I will see if I can come up with the end and then work my way there logically.

Normally I use an outline, for a guide of sorts, but for NAno I went with just an idea and let the story write itself. It's a nightmare to revise because it has no solid plot. It was supposed to be a 'coming of age story' and instead I spend 100 of 150 pages with the MC adjusting to her new way of life. -_-

What was I thinking? I know how It's supposed to end... But getting from beginning to ending just isn't working with the first draft I have. 150 pages. over 82K words and no discernible pot. Talk about frustrating!

I really enjoyed this post. Something that helps me is writing a synopsis of each chapter after it is finished. Then I read the entire manuscript chapter synopsis backwards. It works even better reading the whole manuscript in reverse because you pinpoint how your characters arrive at various stages in their journey. It's amazing how the story makes sense or nonsense as your mind works in reverse.

I am a budding author and I would love to have a copy of this book. I am tackling my first novel and I want to plot it out first however I am confused with all of the advice that is offered. I found advise that KM Weildman has given is brilliant and it resonates well with my writing style. Even if I do not win I'll buy a copy anyhow. Thank-you for this oppotunily.......

My experience designing and building computer systems taught me many things about planning (one does not create global computer systems by "pantsing.") My expertise in structured, n-tier, object oriented system design channels my method of storytelling. I do top-down, bottom-up, forward-analysis, and backward-analysis as I work through repeated iterations of the telling of the story, each pass adding more details, more depth, and more density.

Your description of reverse outlining validates my methods and makes me feel good about myself. (I believe that is one reason I like K.M. Weiland's "Wordplay" blog — it legitimizes my labors.)

My current project is five volumes totaling about 500,000 words. There is one main story arc in five phases, multiple sub-plot arcs, and multiple character change arcs. Reverse outlining is crucial for designing the reveals, setups, and foreshadowing required to sustain the story. Often I know the destination, but I must discover the path. Reverse outlining does that for me.

Great post - so creative. I use this approach when projecting revenue goals in my business, a reverse P&L if you will, but never thought to apply it to my creative endeavors. I love this! Thank you for sharing, and for a chance to win!

I think this is a great post that will help seasoned veterans and rookies alike. Whether you're a pantser or a planner, breaking out of the box is usually a good idea.

I have no idea what I am. I struggle with every part of writing, but I'm still trying. I have an easy time with creating a picture in the reader's mind, but haven't figured out how to create depth of character, tie scenes together, keep a plot going, or anything resembling a full book.

I need help! I think this book would be one stepping stone to getting me on at least the Junior Varsity team of writing.

Ms. Weiland has written a great, practical guide to getting that book written. On top of that, she is extremely responsive to questions and comments; very approachable. You won't regret reading it. It changed my view of the writing process and helped me see that I wasn't broken.

wow for sure i gotta read this a couple time so i could know better how to go backwards. mostly i dont plot stuff but im learning how to do it and how it could help. so maybe learning how to go backwards sometime could be a big help. cool post. i always learn lots when i come here....hugs from lenny

Reverse outlining. That's an interesting thought. The thing I struggle with most is creating a plot. Characters pop into my head all the time (and pretty good characters, if you ask me), but I have a hard time thinking of a goal for my characters. Once I think of one, though, I do great! :D

This reminds me of my journalism training, where you determine what the point of the story is (the lede), and build from there. In a story involving passage of time, it's not uncommon to start at the culmination, then work the reader backward. Good post.

Given the number of comments here it is unlikely I'll win the book, but should I do so, please draw again; there are folks here who really seem to want it and I wouldn't want to interfere with that!

@JessG: The thing to keep in mind about outlines is that there are no set "rules" for them. Your outline can be as unique as you are. So just keep hunting around, improvising, and refining until you find exactly the right method for you.

@Robin: Thank you! I'm so glad you've enjoyed the book.

@Karen: Being able to balance the strengths of both the outliner and the pantser is the way to go. If we can have the best of both worlds, why not go for it, right?

@Deb: Renowned screenwriter and director Sam Peckinpah once talked about how every story needs to hang around a big event in the middle. I like to think of it as the "turning point." If you can identify that moment, you'll be way ahead of the game in figuring out your middle.

@Alison: Overly pat endings are a pet peeve of mine. I like it when an author can resolve the issues but still leave the sense that life, in all its messiness, still goes on after I close the book.

@Julie: You're very sweet! Glad the post hit the spot.

@Kitty: I had a similar experience with my (soon-to-be-published) fantasy. At the time when I started it, I was seriously burned out on another project and didn't want to mess with a lot of preparation. So I just dove in. And, boy, did I live to regret that decision. Four outlines and as many rewrites later, I'm approaching the end of that very instructive journey.

@Fiona: That's brilliant! I'm gonna have to give that a try myself.

@Julieann: It's easy to get lost in the flood of conflicting advice from other authors. The best thing we can do is try to figure out which pieces of advice resonate and which don't - and keep them and throw them out accordingly.

@Lester: Pantsing would be a disaster in just about any other project - just as it is for many authors. The fact that some of us can get it to work is a testament the creativity and patience of writers.

@Sarah: Most of art is half creativity and half analysis. The logical sides of our brain are rarely wasted in our writing.

@Aimee: Outlining is one of the best ways I know to inspire us to finish stories.

@Lindsay: Thanks for commenting!

@Amanda: Since you already know your ending, you're already halfway to the solution. Reverse outlining might be just the thing for you.

@Charlie: The book talks quite a bit about character and thematic arcs, so you might find just the answers you're looking for in those chapters.

@S.K.: Writers aren't broken. Just our keyboards where we've banged out heads against them. :p Thank you for kind comment! I'm pleased to pieces that the book was so useful to you.

@Lenny: Outlining backwards certainly isn't a cure-all, but used in concert with other outlining and plotting techniques, it can be a huge catalyst.

@inluvwithwords: Great! I hope you find as much success with the technique as I have.

@The Magic Violinist: If you know your characters (and I mean really dig deep into their pasts and personalities), you can identify their core needs. From there, creating a plot is often just a matter of figuring out how to thwart those needs and create conflict.

@Patrick: Thanks for stopping by! Sounds like another good non-fiction tip we fiction authors can learn from. :)

@Tom: Honestly, a big part of sticking with a story is nothing more than sheer determination. We all get sick of our stories, for one reason or another, somewhere in the middle. Unless that feeling is a sign of a larger problem that needs fixing, the best thing we can do for ourselves and our stories is just to power on through.

@Lori: It's marvelous how the techniques we use to find success in other areas of our lives and professions can actually bring the same measure of success to our fiction!

@Sheri: If you know where you've been and you know where you're going, it's actually not all that difficult to figure out how to get there. Think of the scenes in your middle as one domino running into another and creating the chain reaction that is your story. After that, it's just a matter of figuring which dominoes you need to use to get that reaction.